Status: Closed
The Adaptive Audio Now working group was formed to foster a community dedicated to adaptive audio concepts and dedicated to the sharing of adaptive audio information and techniques. The primary deliverable was a website, which at launch featured two articles about games that had "adaptive audio" scores. Unfortunately the site did not progress so after a few years it was shut down, and the content archived here.
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ARCHIVED MARCH 1 2005 |
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The adaptiveaudio web site allows IASIG members to post articles, opinions, and questions about adaptive audio, then respond with comments and ideas regarding them. While posting is limited to IASIG members, the articles and information are for all to view. The site will grow as articles and responses to them increase, raising key questions about adaptability in audio. A vast searchable database of adaptive audio information will emerge from community participation, becoming a goldmine for those creating adaptive scores. The aggregate information will be organized and codified, bringing about a common language, and hence a basis of communication for discussing adaptive audio. Adaptive Audio Now will follow and encourage the evolution of adaptive scoring by featuring post mortem articles about recent game scores and current technology. Media and demos will support and compliment many of these articles, offering the opportunity to hear many techniques and technology first hand within this forum. Also, users of the site will be able to post links to relevant articles posted on other sites, which will keep viewers and participants returning for updated news and information. The hope is that Adaptive Audio Now will become a hub for all things regarding adaptive audio. In the past, composers and sound designers have been on their own, figuring out the best approach to an effective adaptive score, reinventing the wheel yet again. Adaptive Audio Now will build a critical mass of people and ideas, enabling us to move beyond the basic adaptive features heard in contemporary media. An open minded community is necessary to leap the technological -and psychological- hurdles which inhibit our ability to produce highly nuanced adaptive scores. |
Puzzle Scoring: An Adaptive Music Case Study for Russian SquaresSaturday, July 19, 2003 - 19:44
This article is an excerpt from a paper originally written for the book, DirectX Audio Exposed: Interactive Audio Development, published by Wordware, edited by Todd M. Fay (a.k.a. LAX). [ http://www.wordware.com/ ISBN 1-55622-288-2, price .95 ] This excerpt replaces DirectMusic terms with general adaptive audio terms that can be applied to any audio technology. If you're interested in learning about the specific DirectMusic techniques, process, and technology used in Russian Squares, read the full length article from the book (due out late summer or early fall 2003) The full length article is much longer than this excerpt and contains detailed information and instruction regarding the DirectMusic production process.
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A Spy’s Score: A Case Study for No One Lives ForeverWednesday, July 02, 2003 - 00:27
This article is an excerpt from a paper originally written for the book, DirectX Audio Exposed: Interactive Audio Development, published by Wordware, edited by Todd M. Fay (a.k.a. LAX). [ http://www.wordware.com/ ISBN 1-55622-288-2, price .95 ] This excerpt replaces DirectMusic terms with general adaptive audio terms that can be applied to any audio technology. If you're interested in learning about the specific DirectMusic techniques, process, and technology used in No One Lives Forever, read the full length article from the book (due out late summer or early fall 2003) The full length article is much longer than this excerpt and contains detailed information and instruction regarding the DirectMusic production process.
[ read more ]
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